Moira Roth (September 13 - 30, 2005)
Moira Roth—writer, scholar, Trefethen Professor of Art History, endowed chair, Mills College. She has written many articles in journals, catalogues and books on Duchamp, performance art, feminist art, photography, multiculturalism, and generally contemporary art issues. Her awards and honors include the Women's Caucus for the Art's Mid-career Art History Award (1989) and the Lifetime Achievement Award (1997); an Honorary Ph.D., San Francisco Art Institute, 1994; and the Frank Jewett Mather Critic's Award (lifetime achievement), and College Art Association award 2000.
Roth’s published texts include Difference/Indifference: Musings on Postmodernism, and Marcel Duchamp and John Cage. She has edited The Amazing Decade: Women and Performance Art in America, Connecting Conversations: Interviews with 28 Bay Area Women Artists, Rachel Rosenthal and We Flew Over the Bridge: The Memoirs of Faith Ringgold.
From the 1980s, Roth has worked cross-culturally, with an intense involvement in Asian-American art history. She is currently researching and writing a commissioned essay on the Vietnam War with American and Vietnamese artists, including Nancy Spero and Dinh Q. Le to be held at the Drawing Center, NY, 2005. This is #12 in her series Traveling Companions/Fractured Worlds. She continues work on The Library of Maps, texts about a fictional library and its inhabitants, begun in 2001. The next year she started to write play scripts (the Rachel Marker text is her fourth). In 2002-03, Roth directed an international Cyber Theater exchange, The Cyber Theater of Mneme and Melete. In 2003, she and Dinh Q. Le collaborated on a San Francisco production, From Vietnam To Hollywood and this was followed by a collaboration with dancer, Mary Sano, on two multimedia productions staged in San Francisco and Tokyo (Dancing/Dreaming: Izanami and Amaterasu 2003) and at the Kyoto Concert Hall (Amaterasu, The Blind Woman and Hiroshima 2004).
Link
to Roth's Traveling Companion essays
Link
to Roth's Library of Maps essays
Public Lecture
Tuesday - September 13, 7:30pm
"Of Fact, Fiction and Travel: From Rachel Marker to the Library of Maps"
UHM Art Building Auditorium
Lecture open only to Art students and faculty (reading
required)
Wednesday - September 14, 9:30 - 10:30am
"Dinh Q. Le: From Vietnam To Hollywood And The Remaking Of
Mot Coi Di Ve"
Photography Program - Room 331
Stage Reading
Saturday - September 17, 2:00pm
from Roth's Play Rachel Marker, Franz Kafka and Alice Sommer
(directed by Peter Ruocco)
UHM Art Building Auditorium
Public Lecture
Tuesday - September 20, 5:00pm
"Performing in Time and Space, An Introduction to the Work of Rachel
Rosenthal, Lynn Hershman and Rudy Lemcke"
UHM Art Building Auditorium
Screening of "Acting Up for Prisoners" and "Immemorial"
Wednesday, September 28 from 12:00 - 1:00pm
UHM Art Building, Room 308
"Immemorial"
by Rudy Lemcke (2005)
Immemorial juxtaposes recently discovered footage of ACT UP San Francisco's AIDS demonstration on March 6,1990 with footage of Lemcke’s performance / installation for "A Day Without Art" (1992) at the De Young Museum."Acting Up for Prisoners"
by Mic Sweeney / Eric Slade (1992)
Frontera, the California Institution for Women, is the home for all women prisoners in California known to have HIV. However, Frontera is not a medical facility designed to care for these women - it is a prison with an isolated wing designed to segregate them. Acting Up for Prisoners follows ACT-UP's highly successful campaign to bring adequate health care and human rights to women prisoners with HIV. Featuring footage from powerful ACT-UP demonstrations, compiled media coverage and interviews with activists, including former Frontera inmate Mary Lucey.
Boreth Ly (October 13 and 14, 2005)
Boreth Ly is a writer and an Assistant Professor of Asian Art and Visual Culture at the Department of Art and Art History, University of Utah. He was born in Phnom Penh, Cambodia and was educated in Paris and United States. He received his Ph.D in Art History from the University of California, Berkeley in 2002. He was a Rockefeller Resident Fellow (2004-2005) at the Simpson Center for the Humanities, University of Washington, Seattle.
Ly is currently writing a collected volume of essays Mekong and Memory. This interdisciplinary book addresses the issue of trauma and memory in the post-Vietnam War period as it is made manifest in the contemporary arts of Southeast Asia and diasporas. One of these essays, Devastated Vision(s): The Khmer Rouge Scopic Regime in Cambodia was published in the Spring 2003 issue of the Art Journal. Another article by Ly titled, Narrating the Deaths of Drona and Bhurisravas at the Baphuon was published in the Spring 2004 issue of Arts Asiatiques. In addition, his recent essay, Remembering From a Crossroads: The Archaeology of Photography, Memory, and Vision in the Art of Dinh Q. Le appeared in the 2005 issue of Udaya: Journal of Khmer Studies. Lastly, Ly has many other forthcoming articles on both Classical and Contemporary Southeast Asian art and culture.
Public Lecture
Thursday, October 13 at 4:30pm
Art Building Room 101
"Theaters of War: Three Defining Photographs from the Vietnam/American
War"
more
information
Public Lecture
Friday, October 14 at 12:30pm
Art Building Room 137
"Water and Memory: Diasporic Tributaries and the Ocean of Southeast
Asian American Visual Experience"
more
information
co-sponsored with UHM Center for Southeast Asian Studies
Terry Adkins (November 1 - 14, 2005)
Public Lecture: Tuesday
- November 1, 7:30pm
at UHM Art Building Auditorium
Public Lecture: "Black History Re-Imagined"
Adkins will discuss his art in relation to creativity and various historical
Afro-Atlantic traditions in the context of past and present social and
political issues.
Thursday - November 3, 130-245pm
at 112 Watanabe Hall
Darkwater Recital in Nine Dominions - Terry Adkins
after W.E.B. Du Bois (A "multi-media/multi dimensional lecture presentation"
Event)
Tuesday - November 8, 1200 - 100pm
at George Hall 301
Terry Adkins – artist, musician, teacher, scholar. His work is in the permanent collections of the Museum of Modern Art, New York, Metropolitan Museum of Art, New York, The Hirshhorn Museum and Sculpture Garden, Washington, D.C., the Studio Museum in Harlem, New York, among many other institutions. He has been artist-in-residence at Pilchuck Glass School in Seattle, WA and at Dartmouth College in Hanover, NH and senior critic at Yale University, New Haven, CT. Since 1980 he has had over 40 solo exhibitions. Adkins has received fellowships and grants from the National Endowment for the Arts, the New York Foundation for the Arts Grant, Perspectives in African-American Art Award, Seagram Americas, New York, the Joan Mitchell Foundation Fellowship, and others.
Terry Adkins is a musician and a performance and installation artist. His art often incorporates a musical component. As a sculptor, he “uses overlooked and discarded materials of daily life to create powerful and historically resonant work. Over his 20 plus years as a sculptor, he makes new forms out of obsolete machinery, ephemera and historical artifacts. He states, “I’m trying to get across a synthetic totality that allows people to participate in ways that are not just limited to a visual encounter.” He says his works are about humanity, rather than what it is to be black or white. “I try to represent peoples’ contributions to making the world a better place. I try to right historical wrongs. I try to educate, and to give a total view of what individuals such as Sojourner Truth, Jimi Hendrix, Ralph Ellison and Zora Neale Hurston are about”.
Co-sponsored with the Department of Ethnic Studies and Interdisciplinary Studies Program
Public Lecture by
Shepard Fairey of ObeyGiant.com
Wednesday, November 16, 2005 from 7:00pm
UHM Art Building Auditorium
co-sponsored with The Contemporary Museum
Lu Jie and the Long March (November 17, 2005)
“The Contemporary Chinese Art Context: Representations and Responses”
Public Lecture by Lu Jie, Curator, Long March
Thursday, November 17, 7:00pm
UHM Art Building Auditorium
What is the situation of the contemporary Chinese art context? How has it changed and what can we expect from its future? Curator Lu Jie, examines the contemporary Chinese art context by looking at its historic development and the influence of government policies, the local art market, art biennials, and the linked rise of independent curators and independent art spaces. From mapping the centers (Beijing and Shanghai) to documenting major events, Lu explores the shift in contemporary Chinese art from an underground activity to functioning as a mediator between local communities, government entities, and the general public.
The presentation will look at specific responses to changes in China and the strategies developed by different individuals and organizations within this dynamic and complex environment. Through an examination of “The Long March – A Walking Visual Display,” a massive art project involving over 250 Chinese and international artists at 20 sites along the historic Long March route, Lu discusses the major issues facing contemporary Chinese art and its promises and problems.
Lu Jie is the founding director of the Long March Foundation (New York) and the 25000 Cultural Transmission Center (Beijing). He holds a BFA from the China Academy of Arts in Hangzhou (1988) and an MA from the Creative Curating Program in Goldsmiths College, University of London (1999). In 2002, in Zunyi, China, Lu organized the first international curatorial symposium on contemporary Chinese art, “Curating in the Chinese Context.” He has presented lectures and talks throughout Asia, Europe, and North America. He is currently a Guest Researcher at the Research Center of Display Culture, China Academy of Art, Hangzhou, China, and sits on the Editorial Board of Yishu – Journal of Contemporary Chinese Art.
Over the past six years Lu concentrated his efforts on developing The Long March - A Walking Visual Display, a large-scale curatorial project taking place along the route of the historic Long March in China. The project was exhibited at the National Museum of Contemporary Art, Oslo (2004); the Museum of Contemporary Art, Lyon (2004); the Shanghai Biennale (2004); and the Taipei Biennale (2004). It will be featured at the 2006 Asia-Pacific Triennial in Brisbane, Australia.
more information
co-sponsored with UHM Museum Studies Program
Public Lecture by Felix Gmelin
Tuesday, November 22, 2005 from 7:00pm
UHM Art Building Auditorium
Felix Gmelin has investigated acts of radicalism in art and politics since the early 1990s. His series Art Vandals, which according to the artist lies in a "frustrated state between documentation and new works," consists of replicas of vandalized artworks faithfully reproduced by Gmelin in their damaged states. I Love You Tushee Love Buns, from Art Vandals, is a copy of a painting by Pop artist Roy Lichtenstein that was defaced when a juvenile love note was scrawled onto the painting by a former Whitney Museum of American Art security guard, Reginald Walker, while it was on public view in 1993. This work weighs the authenticity of the artistic act against the anti-art gesture, the vandal's postscript against the American pop art revolution.
co-sponsored with The Contemporary Museum
[university of hawai'i at manoa]
department of art and art history
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For more information on Intersections, or to be added to our events announcement mailing and/or emailing list, contact current Intersections Director Jaimey Hamilton at jaimeyh@hawaii.edu